Why water paintings and not just water photography?

     Water paintings: Photographs are imprints of the past. A painting can be something else.  Above is a photograph taken with an iPhone looking out an airplane window. It shows the Atlantic ocean from about 2000 feet –comprising an area less than a square mile. The shutter speed is approximately 1/125th of a second. In that incredibly short amount of time, in this extremely small area of a vast ocean we can see the potential for a limitless number of watery, sea-foam paintings. I've highlighted five possible frames in red.  I am making the argument that --when gazing at a foamy, watery painting-- you are looking, through an apparatus --not a representation of the past as in the above photograph-- but a window onto "the now".  In the time you spend gazing at a watery painting (somewhere out at sea) the exact event is occurring.  With these painting, my intention is to create a kind of anomalous reality rather than representational or lyrical abstractions.  We think of time as a passage. A granular; textured series of moments --past, present and future. We experience time as the blur between.      

 

Water paintings: Photographs are imprints of the past. A painting can be something else.
Above is a photograph taken with an iPhone looking out an airplane window. It shows the Atlantic ocean from about 2000 feet –comprising an area less than a square mile. The shutter speed is approximately 1/125th of a second. In that incredibly short amount of time, in this extremely small area of a vast ocean we can see the potential for a limitless number of watery, sea-foam paintings. I've highlighted five possible frames in red.

I am making the argument that --when gazing at a foamy, watery painting-- you are looking, through an apparatus --not a representation of the past as in the above photograph-- but a window onto "the now".  In the time you spend gazing at a watery painting (somewhere out at sea) the exact event is occurring.

With these painting, my intention is to create a kind of anomalous reality rather than representational or lyrical abstractions.

We think of time as a passage. A granular; textured series of moments --past, present and future. We experience time as the blur between.

 

 

    CNN Headline, March 15, 2014: Malasia Flight 370  A quote from the above CNN story: "Stephen Wood, a former CIA analyst and satellite imagery expert, said the satellites could be seeing something as simple as whitecaps, which he said can look deceptively like solid objects."

 

CNN Headline, March 15, 2014: Malasia Flight 370

A quote from the above CNN story: "Stephen Wood, a former CIA analyst and satellite imagery expert, said the satellites could be seeing something as simple as whitecaps, which he said can look deceptively like solid objects."

 #1 Rorschach card with Snellen chart         http://artinterviewsny.com/view-inside-jonathan-quinn/

#1 Rorschach card with Snellen chart

 

 

http://artinterviewsny.com/view-inside-jonathan-quinn/

For me an art making practice is just that --an experimental endeavor. Some paint from a photographic resource --I take photographs based on my paintings. I'd like to think that the paintings spring -of whole cloth- from the deeper recesses of my mind but of course thats a foolish (romantic) idea. I live in an age where the increase in visual bombardment of all kinds of images (dominated by photography) increase exponentially. I think of Warhol's triple-Elvis as my first awareness of the overlapping repetitive dissemination of a visually mediated reality. An avalanche of imprints --can I try and make just one?